 Native
American Plays,
Skits and Dramas
The LIfe of the Corn - A drama
in 5 dances
by Alice C. Fletcher
The Planting Dance
INTRODUCTORY NOTE.—The rituals and ceremonies
from which this dramatic dance with its accompanying
songs are taken have been handed down through
numberless generations. They deal with the
perpetuation of the vocations of the people
and also with the duties of the warrior, who
must so protect the people that these vocations
can be pursued in peace and safety. The portion
of the ritual that relates to the planting
of the maize is here given. It is practical
in character. The ground is to be cleared of
the débris of winter's storms and the
dead leaves and twigs gathered into heaps and
consumed by fire. When the brown earth is uncovered
on the sunny slope it is to be mellowed and
made into little hills with flattened tops
to receive the kernels of the corn. The first
seven of these hills must be ceremonially planted.
Into the first hill one kernel of corn is dropped,
two kernels are put into the second hill, three
in the third, and so on to the seventh, in
which are placed seven kernels. The product
of these seven little hills must be kept separate,
for it is to constitute the "first fruit offering" made
to Wakon'da, through the priest, in recognition
of the gift of corn as food. After the seven
hills are completed, then the rest of the field
is similarly prepared and planted. When the
kernels are put in the loosened ground they
are covered and stamped with the foot, so that
each little hill beards the mark, the footprint,
of the planter. The Ritual Song depicts the
task of planting to its completion and compares
the rows of little brown hills to lines of
buffalo following one another down the slope.
With this vision, suggesting the promise of
abundant food, the workers joyfully turn toward
the home fireside.
The words given for the first song are a brief
paraphrase of the many stanzas of the original
Ritual Song, which so touches the necessary
acts of the planter as to lift them above a
merely prosaic level.
Properties.—As this dance represents
work, no scarfs or mantles are used. The garments
should be plain and the arms free for the necessary
dramatic motions in portraying the various
acts connected with clearing, preparing and
planting the ground. In ancient times the hoe
used for this work was made from the shoulder
blade of the elk, or a stick three or four
feet long shaped at one end like a wedge. Similarly
shaped sticks of wood should be used in this
dance, one for each dancer. Pouches are required
made of brown cloth, with broad bands or straps
long enough to pass over the shoulder and chest
and to let the pouches hang at the back. Both
pouches and straps should be ornamented with
geometric designs painted in red, yellow, blue
or green; two or three of these colors should
be combined in each design. The corn carried
within the pouches can be represented by rounded
chips, little stones or, when possible, by
the corn kernels themselves.
The boys must wear head-bands, carry bows
and have quivers hung at their backs. They
must scatter around the border of the "field," move
watchfully about, peer into the distance and
act as if on the alert to detect or to meet
any prowling enemy.
Directions.—A space should be
set apart to represent the "field" where the
dramatic action takes place. This dance requires
considerable dramatic pantomime. The words
in the two lines of each stanza of the song
serve as a prelude to the action which follows.
Sometimes the action may be confined to the
refrain, but generally there must be acting
throughout the singing both of the words and
the refrain. Much in this dance must be left
to the imagination and skill of the group of
dancers, who should rehearse together and decide
how best to make a clear, strong picture. The
native music here given belongs to the act
of preparing the ground and planting the kernels
of corn. Attention is called to the second,
fourth, sixth and eighth measures of the song.
The three-quarter notes and the eighth and
rest should be accented by movements of the
hoe, the foot or both. The rhythm of the first
measure is a little different from that of
the third, fifth and seventh, caused by the
third note being a quarter note, denoting a
definite act or pause; the remaining four notes
of the first measure are flowing, as well as
all the notes of the third, fifth and seventh
measures. By observing these little points
in the music the drama will be given variety
and made more picturesque and effective.
At the beginning of the song the dancers should
be at a little distance from the space set
apart to represent the "field," so that they
will be able at the proper time to go toward
it. As the first line of the first stanza is
sung the dancers should stand in a loose group,
adjust their hoes and pouches to be ready to
go to the "field"; during the singing of the
second line they should break into a file and
move off. All these movements of body, hands
and feet must be in strict time and rhythm
with the music.
Native American Song No. 1
1
Here we stand ready now
to go on our way
To the field, buried under
leaves dead and gray.
Refrain: Ah hey they,
Ah hey hey they,
Ah hey they ha!
Ah hey they,
Ah hey hey they,
Ah hey they ha!
By the end of the first line of the refrain
the dancers will have reached the "field" and
have begun to dispose themselves over the space.
Seven must stand in the first row, where they
are to make the seven ceremonial hills. These
seven dancers should lead the motions of all
the others, so that the movements may present
even lines, as in the bowing of violins in
an orchestra. The refrain should be repeated
as many times as is necessary while the dancers
are taking position, clearing the field, etc.
The number of repeats must be determined upon
at the rehearsals of the dancers. Sufficient
time should be taken to bring out the picture
and to give it in perfect rhythm with the music.
When the refrain closes, the dead leaves and
twigs are supposed to be gathered into heaps
ready to be burned.
2
See the fire send its
"word of flame" mounting high,
Now the smoke rolls about the earth,
shuts out sky.
Refrain: Ah hey they,
Ah hey hey they,
Ah hey they ha!
Ah hey they,
Ah hey hey they,
Ah hey they ha!
The action for this stanza should indicate
the heat of the fire; shielding the face, pushing
back stray leaves or twigs to the burning heap;
the rolling smoke follows the dancers, who
here and there try to escape it. This scene
will require study to bring out the picture
rhythmically. It should form a contrast to
the preceding and the following scene, in both
of which the movements are more or less uniform.
In this scene groups should emphasize certain
conditions: the fire, the smoke, the work of
keeping the heaps together, so that the picture
will be one of action diverse to a degree and
yet every movement dominated by the rhythm
of the song; the picture will thus be made
a unit.
3
Mellow earth, make the little,
hills smooth on top,
On the earth softly the
kernels we drop.
Refrain: Ah hey they,
Ah hey hey they,
Ah hey they ha!
Ah hey they,
Ah hey hey they,
Ah hey they ha!
In the action of this stanza the seven dancers
in the front row make seven ceremonial hills,
mellowing the earth with the wooden hoes and
gathering it into little hills made smooth
on top. The pouches are swung to the front,
the corn taken out with one hand while the
other holds the hoe at rest, and the kernels
are dropped on the softened earth. The dancers
should be careful to remember that in the ceremonial
row of seven hills but one kernel is to be
dropped in the first hill, two in the second,
and so on up to seven in the seventh hill.
All the dancers scattered over the "field" must
follow the movements of the seven in charge
of the seven ceremonial hills.
4
Cover all gently,
leave the print of our feet
On the earth mellowed fine,
so brown, so sweet.
Refrain: Ah hey they,
Ah hey hey they,
Ah hey they ha!
Ah hey they,
Ah hey hey they,
Ah hey they ha!
In the action for this stanza the hoe and
the feet of the dancers have a special part.
The movements of the dancers should represent
the covering of the dropped seed with the mellowed
earth and the making of the footprint on the
top of the little hill within which the seed
is now hidden. In the native Ritual Song the
term "footprint" is used symbolically; it represents
a person—in this instance the one who
had done the work—also the work itself
that has been accomplished. The dancers should
be careful to remember the rhythm of the second,
fourth, sixth and eighth measures, as these
can be used to emphasize "footprints" and also
the completion of the task. During a repeat
of the refrain the dancers should drop their
hoes and gather in groups as if to look at
the field; this action will bring them into
the position required for the fifth stanza.
5
How like lines of buffalo
upon the slope,
Lie our little brown hills,
so full now of hope.
Refrain: Ah hey they,
Ah hey hey they,
Ah hey they ha!
Ah hey they,
Ah hey hey they,
Ah hey they ha!
The motions of the hands and the movements
of the body should indicate that in looking
over the field one is struck by the striped
appearance made by the rows of little hills,
recalling the resemblance to the buffalo descending
the slope. The final "ha!" of the refrain should
indicate pleasure. A brief silence should follow,
during which the dancers pick up their hoes,
adjust their pouches, fall into line and sing
the following song:
Native American Song No. 2
Light our hearts and gay
As we homeward take our way,
While the winds about us play,
Singing as we go.
Hy-ya hy-ya hy-ya ho!
Hy-ya hy-ya hy-ya ho!
Hy-ya ho!
Ho!
Hy-ya ho!
This song should be repeated many times as
all the dancers, with rhythmic, springing steps,
wind about the camp ground before they finally
disperse. |
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